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Incoming, a massive EP from Anderson.

After his recent easter eggs EP, this four tracker is a blend of trance, breaks, drum & bass and experimental electronica.

Starting off the A side with the ‘Jelly Bean (Virus Outbreak Mix)’, this monster of tune will rattle your subs (and brain) with his crunchy kicks and trancey sequencing. This track will blast you off into oblivion eventually bringing you right into A2, ‘Level Quest’, a trancey chugging progressive tune building energy from the moment the first kick ignites.

After a much needed break, the B1 puts you in an immediate trancestate lasting just a few minutes and before you know it you will be blasted into drum and bass land with ‘Tasteful Nudes’ closing out the EP.

See you on the other side..

Pink Marbled

Limited 50 copy press

Janaka Stucky is a poet, performer, and author of two poetry collections published by Third Man Books & Records. Janaka’s poems are at once incantatory, mystic, and epigrammatic.

His esoteric & occult influences, combined with a mesmeric approach to performance, create an almost ecstatic presence on stage. Of his live shows, VICE writes, “Janaka Stucky performs poetry readings like he's part fire-and-brimstone preacher, part doom-metal frontman … For him, lighting incense, dropping acid, and creating some of the most ecstatic lines of verse you’ve ever read is just another day at the office.”

Praised by Jimmy Page as “riveting,” Janaka Stucky’s book length poem, Ascend Ascend, published by Jack White’s Third Man Books in 2019, gets a mesmerizing treatment on this album by the same name, accompanied by experimental cellist Lori Goldston. Goldston, known for her work with a number of acts—including Nirvana, Cat Power, and Earth—provides otherworldly layers of distortion and natural reverb over Stucky’s dirge-like vocal performance.
Recorded at the All Pilgrims Church in Seattle while Stucky was on a 7-city tour produced by Atlas Obscura in 2019, the performance is served well by the room’s ambiance and was recorded, mixed, and mastered by Mell Dettmer—who has engineered albums for acts such as Earth, Sunn O))), Master Musicians of Bukkake, and Wolves in the Throne Room.

Manuel Sahagun lives in Buenos Aires, Argentina and has a long history in the music industry. He is known for his unique sound signature which have landed him releases on great labels such as Freerange, True Romance, Minor Notes, Lazy Days and more. And this summer he tryst with Fortunea Records, bringing along his new 3-tracker ‚A Daily Noise‘.
The record starts off with ‚Dreams‘. Don’t expect with this title a fluffy, peaceful melancholic tale. This track pushes through the door with warm subs, galloping hi-hats, xylophones and an irresistible crunchy bassline that’ll get stuck in your head for hours and hours. An absolute belter!

The EPs title-track goes on in similar manner. This time built around an eerie pad that lurks from behind and comes more and more forward in the course of time. A sign for danger? Not at all. But an optimistic relief will come along when the climax hits the dancefloor.

Finally we have ‚Hostages‘ on B2. A deep house track which has a beautiful sense of gloom and curiosity to it. Manuel gives more drama to the track by adding abstract digital glitch noises and haunting synths. A substantial treat for the ears.

‚A Daily Noise‘ comes out on the 9th of June 2023. The vinyl is limited to 300 copies. There will be no repress!

yet is a slippery word in English. Amorphous, these three letters in dierent contexts can define contrast or emphasis, set a place in time, show an expectation that something will occur or, paradoxically, that it is likely to stop.
It is this mercurial nature that makes yet the perfect title for Tresor’s latest compilation: the label follows on from the more explorative sections of 2021’s landmark Tresor 30 boxed set with a compilation, featuring 13 artists making music that resists easy definition.
Every track hints at and borrows from the familiar yet none follow the expected path: halfway through Deserto, Nandele & A-Tweed dramatically reveal a very dierent sonic landscape that was initially suggested; DJ Sotofett collaborates with Sri Lankan artist Kavadi with results that are unlike anything in the Norwegian producer’s catalogue as yet.
Further invention can be found as Jean Redondo’s Hypersonic moves across spaces inhabited by digital hardcore and hyperpop before swerving o-road and into a futuristic hip-hop section; on No Longer Human, Ireen Amnes takes a dierent path at the crossroads melding hyperpop, trance, and sci-fi soundtrack atmospherics, Significant Other heads towards UK Bass and Dubstep, and France’s Willis Anne skims by the outskirts of footwork with a piece that is almost completely uncategorisable.
Yet more sonic experimentation comes from E-Saggila, Nadia Struiwigh, NVST, Solid Blake, and Viikatory who oer unique takes on the well-established electro blueprint, while Ryan James Ford, and Nit. both find ways to blend elements normally found in ambient pieces with those heard on a dancefloor.
The feel of the compilation is yet again reflected in the enigmatic artwork by Malik Arbab, where shapes and colours suggest animals and plants but in a world that appears to be transient and constantly evolving.

Jazz music has more than its fair share of overshadowed figures that whilst contributing much to the music have little presence in its collective conscious. One such musician is the talented multi-reedist, Sahib Shihab. Born Edmond Gregory, as he was known before he adopted the Muslim faith in 1946, Sahib Shihab's music background shows a deep and significant evolution, influenced by Thelonious Monk, Dizzie Gillespie (his experience in Dizzie's band marked Sahib's switch to Baritone, the instrument he became most readily associated with), and above all by Charlie Parker's Bop. Had it not been for the post-war migration of many top American jazz musicians to Europe, it is quite likely that the legendary Clarke-Boland Big Band might never come into existence. Sahib, one of this musicians disillusioned with the politics and racism of the United States, accepted to join the band of Quincy Jones for an European tour in 1959. When the tour ended, Shihab he remained in Europe where he joined, in 1961, the Clarke-Boland Big Band. The collection 'Companionship', whose line up consists of seven elements which derives from this original band, spotlights the consummate musicianship and individuality of Sahib Shihab and is testimony to his special musical gifts - not only as a top-rank flautist and baritone saxophone but also as a composer. Furthermore, it provides a welcome reminder of the high quality of the Clarke-Boland Big Band's rhythm section, the lively style of vibraphonist Fats Sadi and the power and personality of two of the C-BBB's horn-playing stalwarts, Benny Bailey and Ake Persson. Here's a real rarity, surely a desert island disc. This double album has it all from frantic banging percussive workouts to modal numbers to beautiful ballads. It's a staggeringly good piece of music and worth every penny of the price tag it commands. Let's have a look to the most significant pieces. Francy Boland's "Om Mani Padme Hum", taken from a Tibetan prayer, shows Shihab in exuberant mood, playing against a vigorous percussion background and making dramatic use of his special technique of combining voice and flute. Boland contributes an incisive, effervescent solo. "Bohemia After Dark", a classic original by bassist Oscar Pettiford which he first recorded back in August 1955, finds Shihab in exultant form on baritone. "Companionship" has a Bossa Nova beat and features Bailey on flugelhorn and Shihab on flute, playing with a limpid, floating sound. Bailey's minor-key original, "Stoned Ghosts" was, he says, inspired by listening to some music written by Bela Bartok before he emigrated to the United States. The piece has an infectious back-beat pulse and showcases the superb walking technique of Jimmy Woode. In "Con Alma" Shihab's mellow flute set against a churning 12/8 beat in this stylish Boland arrangement. Woode's performance of the superb Mei Torme ballad, "Born To Be Blue", reveals his great affection for the song. "lt is the perfect combination," he says, "a beautiful melody married to a great lyric. I really love that tune." It is a song of rueful resignation, putting a brave face on the blues. "Balafon" is an up-tempo Francy Boland original written for the French mime artist, Marcel Marceau. The rhythm section really cooks on this track with Kenny Clarke's cymbal work outstanding. Boland's solo here is notable for its neat, left hand punctuations. "Calypso Blues" has been written by Nat King Cole and Don George. lt tells the wry and wistful tale of a Trinidadian in New York desperately homesick for the land where everything 5 so much cheaper (in New York "a dollar buy, a cup of coffee and a ham on rye") and the girls more natural than the artificial, painted beauties of New York. Woode's composition, "Sconsolato" is a haunting theme in A minor and it brings to a close a truly fascinating album. This is dynamic music played with vigour, verve and vitality - and it is an enormous pleasure to rediscover it. A shadowy fugitive from his home in the land of jazz, Sahib Shihab remains a true unsung figure, worthy of more attention. With his equally expert technique on Baritone, Flute, Alto and Soprano saxophones and his capacity to adapt easily to a variety of musical settings. His warm, individual, singsong sound in improvisation and his unusual and interesting compositions mark him out as a hidden treasure in the dusty corners of jazz archive.

Omni AM presents the long-awaited reissue of “Can We Get / Keep Doing That.” This timeless record sent dance music in a new direction. Euphoria Record’s vaults are open and finally, for the first time since 1997, this seminal tech-house classic is available to everyone for the very first time in over 25 years. This 1997 indie record was Euphoria Records second release – and their first international record. Whether you agree with it or not, many people consider this one of the pioneering records of American Tech-House. Both sides and several mysterious alternate versions have graced the decks of DJs like Evil Eddie Richards, Terry Francis, Derrick Carter, Tyler Stadius, and Magda. The list goes on.

We were lucky. Curve Pusher lovingly remastered the original four tracks from the 1997 studio masters. Then, he went a step further, and remastered some previously unreleased versions – including a live version in Chicago that encapsulates what Omni AM was back then: ambient house. There’s a bit of Chicago, a bit of London, a bit of New York, and a bit of Tokyo in every second of these classic, genre-defining tracks.

A1.
“Can We Get” happily sits with the finest works of Ron Trent, Chez Damier, and Mood II Swing – and goes further, as Omni AM has never feared genre definitions. It opens with classic deep house chords, floating synth pads, and sparse vocals. The bassline is deep and warm. Marky Star and Adam Collins expertly work the percussive effects but always keep the theme simple and clear. Everyone knows this is a classic house track because it hypnotizes you.

A2.
“Keep Doing That” continues the theme with another classic late-night killer. However, this one is totally different – almost industrial, yet clearly housey and ambient. It drives deep into a tough groove that just builds and builds. The dub-influenced bass line gives way to a more angular synth riff that both offsets and adds to the track's forward thinking sound design. It’s dark and dirty, yet terribly sexxxy at the same time. It was and always will be mesmerizing. Once again, musical magic by Marky Star and Adam Collins.

B-Sides
The flip side features two remixes of “Keep Doing That” by UK tech-house legend Mark Ambrose. His bubbly, psychedelic take on the track pumps up the percussive Chi-town groove while going in a distinctly London afterhours direction. Trippy, for sure. Fun for all, for sure. These remixes are guaranteed to make your afterhours weird.

12" + 7" !

Mind Maze is, amazingly, Trees Speak’s fifth album to be released on Soul Jazz Records in the space of little over two years– an output matched only by the intensity of their music created during this short time.

The first pressing only of the album comes with a bonus seven-inch single containing two tracks that are not available on vinyl anywhere else.
As with all their previous releases, ‘Mind Maze’ is a mind-boggling tightrope walk across an array of musical influences that seamlessly create the unique present-day world of Trees Speak.

The band’s sound is characterized by a combination of German krautrock motoric-beat rhythms, angular New York post-punk attitude, 60s spy soundtracks, psych, rock, jazz, and 70s synthesizers and vocoders. There is also a cosmic spatial awareness to their sound; both personal inner space and galactic outer space, as well as a wilful pushing of sonic boundaries.

Trees Speak are a musical duo based in Tucson, Arizona, composed of Daniel Martin Diaz and Damian Diaz. Their music is heavily influenced by the cosmic magic of the natural desert landscapes of Arizona, creating a unique and captivating sound that is both experimental and innovative.

Here you will find the myriad sounds of 1970s German electronic music (everything from Can to Cluster, Popul Vuh to Tangerine Dream); 1980s New York post-punk and synthcore (from No Wave to Suicide); John Barry’s 1960s movies, John Carpenter’s 1970s horror. You will also hear the influences of French and Italian progressive rock (Magma, Goblin) as well as cosmic, new age and experimental space soundscapes …. an almost endless list of diverse influences that ebb and flow like an ocean of sound, in the process creating a truly unique soundscape that Trees Speak have made wholly their own.

The name Trees Speak reflects their interest in the concept of using future technologies to store information and data in trees and plants, with the idea that trees communicate collectively. This interest in nature and technology, combined with their passion for experimentation, has led Trees Speak to create a truly one-of-a-kind listening experience that is both unique and engaging.

If you ever wanted to hear Can, Neu!, Destroy All Monsters, Pere Ubu, electric eels, John Cage, Liquid Liquid, Tangerine Dream, Suicide, Laurie Spiegel, Art Ensemble of Chicago, John Barry, Mother Mallard’s Portable Masterpiece Company, Sun Ra, Stockhausen, John Carpenter, Electro-Acoustic and Musique Concrete and Mars in one band - then this is it! Trees Speak are a band that defies categorization and offer an eclectic listening experience, both exciting and memorable.

The two bonus tracks (‘Seraphim’ and ‘Orpheus’) included with the album give us a further window into the complex mind maze of the group - two stunning acoustic tracks that explore a distinct early 70s sound of Yes, Argent and other progressive rock accolytes.

In the mid-70s, Bob Shad’s cult New York Jazz label Mainstream Records turned to the burgeoning underground Disco scene and released a handful of great singles produced by the likes of Tommy Stewart, Jimmy Roach or Bert DeCoteaux. Featuring artists from the early Disco hotbed including South Side Coalition, Chocolate Syrup and Three Ounces of Love, these singles, proving Shad's great flair, accompanied the rise of the New York club and block party culture that was going to revolutionise the musical landscape a few years later. Most of the singles are officially reissued here on vinyl for the first time, with Three Ounces of Love's "Disco Man" full mix previously unissued on vinyl. Remastered by Colorsound Studio in Paris, with liner notes by Charles Waring and artwork by Thomas C. Bradley

Funk and Soul in the early 70s were mutating to a new sound spearheaded by such labels as Philadelphia International Records (PIR), Scepter and Salsoul: Early Disco was taking off and Its sound was earthier and more urban, mixing the nascent Disco beat with strong funk and soul elements. New York was at the epicentre of the phenomenon, thanks to its thriving club scene and also to a new wave of DJs from the Bronx who started playing the music at block parties along with James Brown and Mandrill. bubbling under was a cohort of small independent labels that released some great music on 7" singles to meet the growing demand. Industry veteran Bob Shad and his label Mainstream Records started investigating this new scene and asked his circle of independent producers to bring him their latest production for release. For the occasion, he set up two sub labels, IX Chains and Brown Dog.

Among the producers who'd heard Shad's call were Tommy Stewart who came up with The South Side Coalition's funky '(Don't You Wanna) Get Down Get Down' in 1975 and Prophecy's 'What Ever's Your Sign' a year later. Seasoned arranger/producer Bert DeCoteaux (Patti Austin, Maxine Brown, The Main Ingredient) brought Lenny Welch's soulful 'A Hundred Pounds of Pain' and the superb mid-tempo instrumental 'Nothing Between Us' by The Electric Ladies. Arranger Jimmy Roach came with his latest single with The Dramatics ('No Rebate on Love') whom he'd worked with at Volt and with Three Ounces of Love on their aptly titled single 'Disco Man,' whose unissued long version merging Side 1 and 2 is released here on vinyl for the first time. The sister group would go on to sign with Motown in 1978 and release their sole album self-titled 'Three Ounces of Love.'

​Other highlights on 'Mainstream Disco Funk' include The Grand Jury's 'Music is Fun To Me' with its languid funky rhythm arranged by Ted Bodnar, a producer and studio engineer who'd work with Sir Joe Quarterman, Blair and Al Johnson. Also featured on the set is Crystal Image's superb 'Gonna Have a Good Time (part 1 & 2) which typifies the blend of urban funk, glitzy strings and metronomic beat that were signature elements of early Disco.

​The style would keep getting more commercial over the years and reach overkill in the late 70s but the block party scene which more than embraced this breakbeat-filled genre would soon morph into hip hop in the second half of the 70s with the help of a few key industry figures such as Sylvia Robinson (Sugar Hill Records). By that time, Bob Shad had ceased releasing records and relocated in Los Angeles but he left behind a small treasure trove of superb obscure singles which are now making their LP debut on 'Mainstream Disco Funk' for the delight of all funk and disco lovers.

Limited edition 7" VINYL COLLECTION
Dynamite cuts gives you a wonderful hard to find Jazz 45, from the Canadian P.M label. Bernie Senensky, a superb piano player, set the pace with this Hard Piano driven jazz groove. With a little treasure on the flips with Beloved Gift, a superb interlude that ends with Heavy bass hip hop vibes

Daje Funk Records is back with Vol. 4 of the legendary ‘Slam Dunk’ series of EPs, this time featuring Souldynamic - Musta - Les Inferno - Groovemasta !!!

On the A-side, the supremely talented Souldynamic kicks things off with ‘Tales From Q.J.’ - a delicious chunk of late summer grooves bathing in sun-drenched keys and strings. The rolling bassline acts as the hook, and what follows is a gloriously constructed melodic masterpiece sprinkled with heavenly vocals. Fall in love with this, you will.

A2 sees Italian maestro Musta crack open the deep reggae vibes with ’Soup’. You’ll find it hard to resist this bubbling broth of twisted, rhythmic precision bass, ‘one drop’ beats and tight, short skanking guitar riffs. With ‘Soup’, Musta demonstrates his complete understanding of this genre. Darkened room or bar sun terrace - you decide.

On the B-side, label co-owner Les Inferno spices things up several notches with the aptly titled ‘Hot Burn’. And boy, does this track sizzle. A hustling rhythm that takes over your dance nodes from the get go, Les Inferno lovingly sprinkles Latino and Afro vibes all over this searingly hot dish. It’s furious, intense and relentless - and the brass breakdown acts as the tabasco sauce. Drink water. Plenty of water.

Closing Vol. 4 out on B2 is Groovemasta with ‘That Funk’. A track that treats its funky beats and chunky bass like royalty, this 118bpm monster wastes no time in demanding ‘Gimme that funk’. And you’re gonna hand it over. The swirling, gyrating sexiness of ‘That Funk’ can’t be understated - impossible not to lose yourself in this guaranteed dance floor time bomb.

Slam Dunk Vol. 4 seriously raises the bar for this already excellent series, and has to be in any self-respecting vinyl junky’s record box. Grab it while you can!

High Focus Records are excited to share a new full length offering from prolific Brighton based producer Mr Slipz, this time with a fresh label signing, Australian rapper Nelson Dialect. A landmark release and signing for High Focus with Nelson being the first international signing on the label. UK listeners might have first heard Nelson collaborating with Verbz & Mr Slipz on the song ‘Hope’ from their acclaimed LP ‘Radio Waves’ released on High Focus in 2020. Nelson has a cult following in his own right in Australia, and previously released music on the legendary U.S label Fat Beats to great acclaim. Now teaming up with one of the most exciting and respected UK producers, Nelson & Mr Slipz deliver ‘Ever Since’. A statement piece by two artists with well over a decade spent on their craft which sounds as urgent and refreshing as if it were their first time releasing music. The album’s title is a reference to the endless quest for a timeless sound, reflecting the creative partnerships which spark from a seemingly forever existing thread of music. The two artists crossed paths whilst Nelson was on tour in Brighton, and a chance introduction to Slipz made this album a reality. As fate would have it, due to a cancellation of plans and changing of schedules during Nelson’s tour, the pair ended up in the studio for 8 days straight together which is when the bulk of the album was created. They each saw this as a cosmic alignment and thus played into the albums astrological artwork themes and overarching concept. Striving to capture the lightning in a bottle moment, what resulted musically on this album was an inspired surge of energy and intense creative output that is felt across the entire LP. Equal parts personal and lyrically dextrous, Nelson explores a multitude of concepts over the hard hitting drums and jazzy samples producer Mr Slipz is renowned for through his previous work with artists including Verbz, Kofi Stone, Vitamin G & Datkid among many more. The album features a slew of impressive guest verses including label mates Vitamin G & Verbz on the emphatic ‘Oxford Scholars’. Two legends Jehst & Confucius MC combine on ‘Smooth Ride’. Bronx pioneer & D.I.T.C legend A.G delivers a show stopping verse on ‘Trembling the Marrow’. There are hypnotic singing performances by Indira May on ‘First Date’ & ‘Open Book’ as well as Hiatus Kaiyote back up vocalist Jace XL on the soul stirring anthem “Figure Out What’s Right”. U.S rappers SickInTheHead & Cazeaux O.S.L.O round out the impressive guest list on the album with their inspired verses. Listeners caught their first glimpse of the duo with their debut single ‘Only Just Begun’. A whirlwind 3 verse tune showcasing the relentless wordplay and imagery Nelson is regarded for over a moody, hard hitting Slipz production. With a buzz already around what Nelson Dialect & Mr Slipz are brewing, the duo have just released their second single ‘Oxford Scholars’ featuring label mates Vitamin G & Verbz

Repressed !

Amsterdam based DJ and producer Mayo joins the Fides family with her Frenemies EP marking the 15th release of Fides Records.

Mayo showcases 5 cuts of finely crafted electro and EBM-influenced Techno, it's impossible not to be drawn by her distorted voice that defines each track.

Unrelenting grooves and a deeper look into her analog sound design flair, these tracks are timeless in sound and production quality.

“Tell me how you die” kicks it off as the A1 with stomping analog kick and drums, a dark jumping bassline pushing the groove with ethereal synths.

“Not your shadow” as the A2 strips it back into a 303Acidbass-based track marked by singular industrial sounds and Vocal Shots that are lost in the groove carried by a background synth sequence that follows throughout the track.

The last track of the A Side is “Frenemies” a pulsing, meditative composition featuring label owner and Tresor resident Z.I.P.P.O, who added to Mayo's energetic, analog and eventually dark sense, a more mental, deep and intense face typical of the Italian artist. The B Side starts with Miami Legend Danny Daze’s Hell Mix of “Frenemies” in which he exhibits his unique sound design techniques, combining tribal-tinged rhythm, sharp FX that pops up from the corners of the soundscape with stretched vocals in order to highlight the track's protagonist: a modulated brass bass.

Mary Lake’s Remix of “Tell Me How you Die” closes the EP with a deep kick drum driven forward with rolling and modulated closed hats that run through the track while atmospheric sounds carry the filtered Brass before dissolving into the end of the track.

Derek Carr returns with Part Two of Elektro Statik. Classy Detroit leaning electro tracks. TIP!

The moons of Saturn are the inspiration for this brooding, often soaring and searching odyssey of dark electronica.

The second largest planet in the solar system after Jupiter, and the sixth planet from the sun, Saturn is orbited by 53 confirmed moons, with another 29 that are unnamed and still being studied.

Saturnian is a suite of thirteen choral tracks taking their names from some of Saturn's known moons; Dione, Daphnis, Phoebe, Prometheus, Rhea, Janus, Titan, Enceladus, Tethys, Telesto, Mimas, Hyperion and Iapetus, all named after figures from Greek and Roman mythology, each loaded with their own turbulent back stories. It is the debut release by Holmes + atten Ash, written, recorded and produced remotely in Edinburgh and Bristol by the duo Simon Holmes and Paul Nash.

Their project began during the 2020 lockdown. For Simon, time was spent exploring the Pentland Hills south of Edinburgh. For Paul, the Mendip Hills, south of Bristol. Both would experience the darker side of our human impact on the environment. Simon observed the wilderness as a wasteland, finding discarded, rusting metal littering the Pentland Hills while Paul witnessed the decimation of the ancient woodland of the Mendips' King's Wood due to the destructive tree fungus ash dieback.

These field trips fuelled a desire to navigate not just the landscape, but the duo's emotional place within it. Their collaboration led to a concept album that explores the outer reaches of the solar system, while simultaneously grounding them in a specific place. Looking inwards as much as outwards, theycreated soundscapes based on deeply imagined and felt connections to their surroundings.

After Simon had created a choral piece to accompany Luke Jerram's enormous, world touring artwork Museum of the Moon, Saturnian was a natural progression. When Simon was sent an initial score for the ethereal track Enceladus, composed by Paul in Bristol, he added choral arrangements recorded in Edinburgh. Their shimmering, tense opus continued to evolve from there. Just as the discarded bed springs and abandoned car parts that Simon stumbled upon in the Pentland Hills seemed to him at once "horrible but also oddly beautiful", Saturnian melds together melancholy and levity, fusing moments of dark angst with a celestial calm.

Opening with the glistening, hopeful brightness of Dione, increasingly urgent rhythms give way to digital, otherworldly calls from what might be rainforest creatures chirping into life with robotic squawks and delicate keyboard lines on Phoebe, followed by slowed down, monastic song on Rhea. Tethys is a hypnotic blur of synthesiser and soft chanting, while Rhea is a mysterious, echoing chasm, lifted by melodic, gentle male vocals. Janus has a glowing, effervescent energy, swiftly followed by a sense of tension on Titan, which throbs with driving percussive unease.

The album artwork is a pencil drawing created by Edinburgh artist Simon Kirby. It was made by a robot drawing machine, using custom algorithms that bring to life recordings of the sound of magnetic waves near Saturn's icy moon, Enceladus. The lines in the centre of the drawing are distorted by sound captured by the Cassini spacecraft which studied Saturn for over a decade.

Much like Saturn and its frozen, rocky moons, this debut album from Holmes + atten Ash is mysterious and beguiling, with a hint of foreboding in the depths of its powerful beauty and epic scale.

This is a real treat for fans of original minimal house sounds: a remastered and recut repress of the still hugely in demand first EP from Aspect Music. Opening up are the one and only Soul Capsule with 'Forever Love', a restlessly, tightly looped track that has pent up energy that really gets under your bones. The F Macmillan mix is more cut up still, with puddles of melody, late night freakiness and dry beats all taking you for a trip. Dark Boys then get more direct with the pinging kicks of 'Pluto Rising' and Softcore closes out with a classically colourful melodic house workout.

Zum 10. Jubiläum erscheint am 21. Oktober das Album „good kid, m.A.A.d city“ von Kendrick Lamar erneut.

Das Album enthält Gastauftritte von Drake, Dr. Dre, Jay Rock, Anna Wise und MC Eiht und erzählt die Geschichte von Lamars Erfahrungen als Teenager in den drogenverseuchten Straßen und dem Bandenleben seiner Heimatstadt Compton. Das Album wurde 2014 für vier Grammys nominiert, darunter für das Album des Jahres. Zudem enthält „good kid, m.A.A.d city“ die erfolgreichen Singles ”The Recipe”, ”Swimming Pools (Drank)”, ”Backseat Freestyle”, ”Poetic Justice” und ”Bitch, Don’t Kill My Vibe”.

Das Album ist als 1CD und 2LP auf 180g gepresst erhältlich.

How do you breathe new life into a treasured, classic track? Answer: let Danny Krivit loose on it!

Who better to inaugurate our Mr Bongo Edit Series than one of the bosses of the art of the edit. More than just simple re-touches or loops to make the track easier to mix, Danny works his magic by employing all those years of studying and working with music as a remixer, producer and DJ. He has been honing his craft since the art form began and he seems to have a natural intuition for what works on the dancefloor.

When we asked Danny if he would be interested in reworking some tracks from Mr Bongo's back catalogue we knew the edits would be special, but Danny has outdone himself with these beauties, and arguably they are more than just edits.

By sheer chance, Danny had already worked on a rough personal mix of Sabu Martinez's 'Hotel Alyssa-Sousse, Tunisia’, a track taken from the treasured 'Afro Temple' album originally released in 1973. Danny just needed to freshen and tighten it up to a standard he was happy with, and the result is pure Latin fire.

The Belgian / Dutch orchestra leader Nico Gomez's 'Lupita' from 1971 is an undisputed banger, this underground Latin-crossover favourite has been causing mayhem on dancefloors for years. Here Danny takes it into another sphere adding extra drama and build-ups, adding and overlaying fresh percussion which sounds like it could have been taken from lost outtakes. Even those who may have heard 'Lupita' countless times, are sure to be impressed by the new lease of life that Danny has breathed into it.

2 huge tracks and 2 killer edits from a master of the craft.

SAISEI founder Junki Inoue continues his vital archival work uncovering the riches of Japan’s distinctive electronic music scene and bringing them to new audiences around the world. The Sounds Of Transonic compiles six tracks recorded in Tokyo between 1991 and 1995 and released by the pioneering Transonic label, founded in 1994 by Kazunao Nagata and active until 2004.

Transonic’s catalogue is a glittering roll call of the scene’s major players, whose inventive and genre-blending work established forward-thinking house and techno in Japan in a way that would shape the country’s electronic sound for years to come. Transonic was instrumental in giving exposure to the work of these artists with its emblematic series of CD compilations, released over a short couple of years in the mid 90s. Beginning with 970-1450km/h, Feedback and Range, the series also included The Roots Of Transonic, featuring music from parent label Trigger. Alongside these compilations came much sought-after solo albums each packaged with striking cover art that makes the discs a visual treat for collectors to this day.

The Sounds Of Transonic brings together six tracks from the catalogue into one breath-taking package. The influence of hi-tech jazz and machine funk from Detroit is undeniable in ‘Dream Trance’ (Mind Design) and ‘Blasting Soul’ (Interferon), while ‘Under The Ground’ (Palomatic) and ‘Chelsea’ (Suzukiski) are permeated by the artificial intelligence and trip hop emanating from the UK at the time. The compilation is bookended by two tracks by Nagata himself (as Organization): ‘Space Ball’, a Model 500-worthy chase through the cosmos, and ‘Call’, an eerie echo of Kraftwerk’s telephone, transmitting expectantly out into the void and, finally, receiving its celestial answer.

With The Sounds Of Transonic these formative pieces of music will now be available internationally and, for the first time, on vinyl.

SAISEI is a Japanese word which translates to ‘reproduction’ and ‘to play’ (as in playing records). Japanese culture is widely known for its traditional nature just as much as it is for being forward into the future and this label’s concept does justice to exactly that. Having started digging for records as early as 16 years old, Inoue delved into productions from 1990s Japan to uncover these native gems. SAISEI’s core concept is to recapture and reintroduce unique pieces of Japanese electronic music onto vinyl, to an audience it never reached before as most of this music was only released in Japan.

• A Guy Called Gerald’s soundtrack to Trevor Miller’s Trip City novel was originally released in 1989 on cassette bundled with the book. It went on to sell 12,000 copies in a year before becoming an underground cult classic.
• Reissued in 2021 on vinyl for the first time as part of a bundle with the book, the vinyl is now available to buy on its own.

In the summer of 1989, when Trevor Miller’s Trip City book was first released with a five-track cassette EP by A Guy Called Gerald, there had been no other British novel like it. For 2021, Trip City came back and the original soundtrack by A Guy Called Gerald was also reissued on vinyl for the first time as part of a bundle with the book. Now the vinyl is available to buy on its own.

“I remember back in the 80s, in my hometown, Tony Wilson (of Factory Records fame) was fond of calling Shaun Ryder the WB Yeats of his day. In that vein, whether or not I like to see myself in the canon of Anthony Burgess and Clockwork Orange - with these five tracks, A Guy Called Gerald feels very much like the Ludwig Van to my Alex DeLarge.” Trevor Miller

“Coming on the heels of the acid house classic “Voodoo Ray”, the cut-up vocals, driving bass and hand claps of “FX” and “Trip City” blurred the line between the fictional Tower club and its real-world counterpart The Limelight. This reissue further blurs the lines between past and present, memorialising those heady times
of the Second Summer of Love that anyone invested in the counterculture, much like Valentine, can’t afford to forget.” The Wire

“The EP comprises five acid rollers that showcase his transition into the world of sampling, with the title track functioning as the main theme.” The Quietus

Clear Yellow Vinyl

HOTMIX Records presents Simoncino - Jungle Dream - The Ron Trent Remixes!
The Chicago Master re-interpreted Nick Anthony Simoncinio's "Jungle Dreams", formerly out on Mathematics in 2013.
Highy recommended!

Having crested the west coast modular-ambient wave in just a few releases - including 2018's Sharing Waves on the influential LA experimental imprint Leaving Records - Sean Hellfritsch has swapped the mossy analog synth improvisations of his prior output for refined melodic arrangements dressed in sprightly dawn-of-digital textures. Big Earth Energy plumbs the depths of Hellfritsch's multimedia mind and naturalist heart, spinning an impressionistic narrative world off of cultural touchstones like the PC game MYST, and the work of Studio Ghibli composer Joe Hisaishi. Inspired by the aforementioned, and guided by Hellfritsch's experience as an animator and filmmaker, Big Earth Energy is the soundtrack to a hypothetical video game with a pointedly ecological premise, and a twist of psychedelic charm. In Hellfritsch's imagined virtual journey, the player assumes the perspective of a treefrog sixty-five-million years ago, hopping epochs with each new level, forming a comprehensive picture of the massive changes the planet has gone through over the eons. The ultimate goal of the game is not to amass resources, defeat enemies, or gain power, but to fully witness the unfolding of one of the biggest systems of energy imaginable - or as the album's creator puts it - "to explore the incomprehensibly vast energetic expression and mystery that is Earth." Big Earth Energy is steeped in exploratory RPG intrigue, possibility, and contemplation, lovingly overlaid with Miyazaki-an sentiments and aesthetics. The through-composed, organic, meandering synthesis heard on previous Cool Maritime albums has been fully replaced by meticulous polygonal arrangements that recall the computerized sheen of late 80s work by composers like Hiroshi Yoshimura, and Yoichiro Yoshikawa - using true-to-period gear no less. Even given its referentiality, Big Earth Energy comes off as forward-facing where so much reminiscent music remains fixed to a bygone moment in pop culture. Hellfritsch has created a musical world where the endless verdancy of the biosphere finds its parallel in the golden age of early 1990s video games, and late 80s Japanese environmental music, all while pointing to a hopeful planetary and artistic future that vindicates the motives of all of these muses.